About the Journal
Focus and Scope
Captura Críptica is a Student-led Journal within the Graduate Program in Law of the Federal University of Santa Catarina (PPGD-UFSC). In 2023, the periodicity of the journal became biannual, with the goal of encouraging academic production and disseminating knowledge in the fields of critical dogmatics and legal propaedeutics, in addition to encouraging artistic and literary manifestations that intersects with law or politics.
Double blind peer review process
The Journal comprises 8 (eight) sections, with only the sections Captura; Críptica, Dossier; and Reviews that go through a double blind peer-review process.
- Captura: articles and essays focused on legal practices and normativities, privileging critical perspectives;
- Críptica: articles and essays aimed at reflecting on the theoretical, philosophical, historical, political, sociological, economic, and anthropological dimensions of Law;
- Captura Críptica: essays, manifestos and artistic and literary productions;
- Dossiê: dossiers dedicated to works that discuss the theory of great authors in the field of Law or current themes of importance to the area, chosen annually by the members of the Editorial Board;
- Entrevistas: interviews conducted with social actors who transit through the areas corresponding to the editorial lines of the journal;
- Verbetes: dictionary or encyclopedic entries that examines a word or expression, concept or institute, that contain multiple interpretations or meanings, conveying current themes related to the editorial lines of the journal;
- Resenhas: book, article, or other forms of review of works from multiple areas of knowledge, from classic to recent works, with preference given to critical analyses whose content exceeds the simple summary;
- Traduções: translation of originals of scientific texts from the large area of the human sciences, as well as of artistic and literary texts considered of restricted access to Portuguese speakers, provided that they are duly authorized by the author of the original text.
One condition for publication is that the works submitted are contemplated by the journal's editorial policy, exposed above, satisfying, above all, the criteria of criticality and originality. The presentation of the Journal (Manifesto) and its previous editorials can help the authors in understanding the journal's ideals and its editorial policy.
Periodicity
The journal has, since 2023, a biannual publication, and the period for submission of papers through its own notice is openly advertised.
Free Access Policy
This journal offers immediate free access to its content, following the principle that providing free scientific knowledge to the public provides greater global democratization of knowledge.
The Captura Críptica does not charge fees for submission of papers, as well as the processing of received articles is free.
The works are under the use of the Creative Commons Attribution-noncommercial-NoDerivatives 4.0 International License.
Archiving
This journal uses the LOCKSS system to create a distributed archive system between participating libraries and allows them to create permanent archives of the journal for preservation and restoration.
Privacy Statement
The names and email addresses entered in this journal site will be used exclusively for the stated purposes of this journal and will not be made available for any other purpose or to any other party.
Ethics policy and good practices guidelines in publication
The journal values ethics and good practices in publishing, so it follows and adopts the Code of Conduct and Best Practice Guidelines for Journal Editors of the Committee on Publication Ethics - COPE
Manifesto
The P Languages: Captura's objectives, the objectives of criticism
Inside-Outside; Device-Profanation; Capture-Criticism. The series corresponds to the challenge that the editorial of Captura Críptica: law, politics, current affairs, the PPGD/UFSC graduate students' journal, seeks to revive.
Anyone who knows the world of law knows that it is law that captures us and not us to it. That is what those who do not know the law say. Knowing law requires leaving the pedestal of the thruthful and absolute knowledge. Knowing law means always recognizing it. Undoubtedly, it is us, and many like us, the captured, caged, enovelated by the law. We don't abdicate of being so. But that means nothing more than accepting this space as our space, our habitat, our battlefield. Doing so would be terrible.
Because we are the same ones who accept it, but at the same time stand against the bases of this own acceptance, we believe it is important to state who we are. And we are the ones who believe in disbelief, in doing by destroying, speaking by listening.
The world of law, which myriads say year by year to know how it like the palm of their hands - that is, as bachelors - does not allow us other posture but to make the capture visible. It stems from its own development as a weapon to be used by few infants. But war is made with other weapons, just as criticism is done with other languages. A p separates us from how many who like us were catapulted into the world without return and without bright colors of the grayish, sober and polished law.
However, there is more. The same p unites us around this very separation. It is very difficult to find a link, a reason for a bond, a cause for our war. Less difficult, on the other hand, is to find it as an element of our distinction. And so not everything divides us.
A p, therefore, puts us in front of the common terrifier. Amidst the inevitable capture of those who walk where we walk, all of us, there is a possible march that synchronizes as the ground compacts and as the rows unravel. In its chaos, we find each other.
The criticism is a step back and a p ahead. The rescue - we mean, the capture - we are looking for is the one that makes us settle the accountability with a past as ephemeral as the instant moment of the "now." The program, otherwisely, is what photography cannot record yet, it is the always incomplete tile of a path that leads to the horizon, it is the crisis that nails its teeth in the back of the contemporary and bequeaths to us as condition the infinite task of continuing to bleed. Until our p dries; until it becomes unnecessary. But the fact is that it's not. Not very palpable, it rises; and from the asphalt.
With a p behind, legal criticism erased the intensities that allowed to determine the places of legal abandonment: this is what constitutes the current paradox of criticism - its power to be captured, to be transformed into a device of accommodation or into an empty function; to serve the power describing precisely what can be captured by it. Our recovery to a p ahead is of an essential separation between within the law (Captura) and the possibility of its outside (Críptica), of constituting objects that, although they can be captured, subjected, crumbled, can disperse the devices, create a time and a space that power does not reach, at least momentarily, in the infinity of the atimo in which it became present.
Criticism, whose etymological sense we rescue, despite a current definition to put aside to the decision on the value of a work, for example, comes from "krimein", from the Greek, and means breaking - breaking the work to put it in crisis; only after the crisis, something will come - not the decision, which brings with it an allusion to the arbitrary -, but the judgement: a capacity that cannot be structured aside the exercise of p, that is also the exercise of thinking.
Today, few, in fact, break, and many dedicate their surlives to reassemble the shards of their idols or to name their particular centaurs, in order to remain comforted with the frivolous heat of their mythologies.
From the misery of legal criticism, Captura Críptica is born: that which focuses on the sedimented and auscultates the future. The attempt to do, for a moment, more than the Criticism of Capture, the bursting of Capture into the Criticism: a principle of break and an endless movement: never comfortable, never cozy... damned and restless, like making love in the cold nights of the deserts of law.
The editors.
